Here's a sampling of the most fascinating of Leonardo da Vinci's notebooks, culled from 7000 pages of original sketches and text, by H. Anna Suh. She'll be answering reader questions in the comments for the next hour.UPDATED.

Which is best, to draw from nature or from antique? It is better to imitate the antique than modern work. But painting declines and deteriorates from age to age, when painters have no other standard than painting already done. Hence the painter will produce pictures of small merit if he takes for his standard the pictures of others as was seen in the painters after the Romans who always imitated each other and so their art constantly declined from age to age.

But if he will study from natural objects he will bear good fruit.

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A painter is not admirable unless he is universal. Some may distinctly assert that those persons are under a delusion who call that painter a good master who can do nothing well but a head or a figure. Certainly this is no great achievement; after studying one single thing for a lifetime who would not have attained some perfection in it? But, since we know that painting embraces and includes in itself every object produced by nature or resulting from the fortuitous actions of men, in short, all that the eye can see, he seems to me but a poor master who can only do a figure well.

For do you not perceive how many and various actions are performed by men only; how many different animals there are, as well as trees, plants, flowers, with many mountainous regions and plains, springs and rivers, cities with public and private buildings, machines, too, fit for the purposes of men, diverse costumes, decorations and arts? And all these things ought to be regarded as of equal importance and value, by the man who can be termed a good painter.

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Vitruvius, the architect, says in his work on architecture that the measurements of the human body are distributed by Nature as follows: that is that 4 fingers make 1 palm and 4 palms make 1 foot, 6 palms make 1 cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man; and these measures he used in his building. If you open your legs so much as to decrease your height 1/14 and spread and raise your arms till your middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space between the legs will be an equilateral triangle.

From the roots of the hair to the bottom of the chin is the tenth of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of a man. The whole hand will be the tenth part of the man; the beginning of the genitals parks the middle of the man. The foot is the seventh part of the man. From the sole of the foot to below the knee will be the fourth part of the man. From below the knee to the beginning of the genitals will be the fourth part of the man. The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like the ear, a third of the face.

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Instrumental or mechanical science is the noblest and above all others the most useful, seeing that by means of it all animated bodies which have movement perform all their actions; and the origin of these movements is at the center of their gravity, which is placed in the middle with unequal weights at the sides of it, and it has scarcity or abundance of muscles, and also the action of a lever and counter-lever.

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To the end that well-being of the body may not injure that of the mind, the painter or draughtsman must remain solitary, and particularly when intent on those studies and reflections which will constantly rise up before his eye, giving materials o be well stored in the memory.

While you are alone you are entirely your own [master] and if you have one companion you are but half your own, and the less so in proportion to the indiscretion of his behavior. And if you have many companions you will fall deeper into the same trouble. If you should say: "I will withdraw so far that their words cannot reach me and they cannot disturb me," I can tell you that you will be thought mad. But, you see, you will at any rate, be alone.

I say and insist that drawing in company is much better than alone, for many reasons. The first is that you would be ashamed to be seen behindhand among the students, and such shame will lead you to careful stuffy. Secondly, a wholesome emulation will stimulate you to be among those who are more praised than yourself, and this praise of others will spur you on. Another is that you can learn from the drawings of others who do better than yourself; and if you are better than they, you can profit by your contempt for their defects, while the praise of others will incite you to farther merits.

I know that many will call this useless work; and they will be those of whom Demetrius declared that he took no more account of the wind that came out their mouth in words, than of that they expelled from their lower parts. Men who desire nothing but material riches and are absolutely devoid of that wisdom which is the food and the only true riches of the mind. For so much worthier as the soul is than the body; so much nobler are the possessions of the soul than those of the body. And often, when I see one of these men take this work in his hand, I wonder that he does not put it to his nose, like a monkey, or ask me if it is something good to eat.

I am fully conscious that, not being a literary man, certain presumptuous persons will think that they may reasonably blame me, alleging that I am not a man of letters. Foolish folks! Do they not know that I might retort as Marius did to the Roman Patricians by saying that they, who deck themselves but in the labors of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that which I desire to treat of, but they do not know that my subjects are to be dealt with by experience rather than by words. And [experience] has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases.

H. Anna Suh has a master's degree in Art and Archaeology from Princeton University. She was on the curatorial staff of the Metropolitan Museum of Art and has worked on projects for scholarly publications at the Met, NYU¹s Institute of Fine Arts, Princeton University Art Museum, and Harvard University. She lives in New York City and is also the author of Vincent van Gogh: A Self-Portrait in Arts and Letters.